"A WOMAN
SCORNED"
by
Charles Deemer
3550
SW Pomona St.
Portland, OR 97219-7518
charles@charlesdeemer.com
1-503-452-8277
FADE IN:
INT.
HIGH SCHOOL AUDITORIUM - STAGE - NIGHT
A scene
from the play "Medea" by Euripedes.
TRISHA,
playing the lead, is a pretty, blonde high school
senior
wearing exaggerated makeup and a stylized "mad"
hairdo
for her part.
The
actors are near play's end, when Medea is wild and crazy
after
the murder of her children. Trisha
plays the role
with
passion and talent.
TRISHA
No, it was not to be for you to
scorn my love and live happily
ever after, laughing at me.
Medea is
on stage with Jason and The Chorus.
TRISHA
You have no right to call me a
monster.
Jason is
played by JOHN, a tall handsome senior.
JOHN
If you are not, then feel the
same sorrow as I.
TRISHA
I will embrace sorrow when you
cannot mock it.
JOHN
O my children, what a wicked
mother she has been!
TRISHA
No! My children died from a
disease they caught from their
father!
INT.
AUDITORIUM - NIGHT
The
audience, composed largely of parents, teachers and
other
students, watches spell-bound by the performance on
stage.
2.
INT.
STAGE - NIGHT
CHORUS
O your heart is made of rock if
you can kill the fruit of your
womb with your own hands!
INT.
AUDITORIUM - NIGHT
CONNIE,
40ish, and HEATHER, 15, are as wrapped up in the
action
as the rest of the audience. Heather
wears dark
glasses
and has a blind person's cane.
At the
back of the auditorium GREG, 40ish, the director of
the
play, watches on happily. He is fit and
handsome and a
well-liked
drama teacher at Wilson High School in Portland,
Oregon.
Greg
dresses flamboyantly in a style reminiscent of the
sixties,
in jeans and a bright tie-dye shirt. He
is clearly
delighted
with the performance of his students.
INT. THE
STAGE - NIGHT
JOHN
How I loved my children!
TRISHA
No, I loved them more than you.
JOHN
You killed them!
TRISHA
Only to make you feel pain!
CHORUS
And so the gods achieve many
things that we do not understand.
The
LIGHTS COME DOWN on stage as APPLAUSE rises spontaneously
from the
audience.
INT.
AUDITORIUM - NIGHT
The
APPLAUSE continues as parents and teachers and students
rise to
their feet to give the cast a standing ovation.
Connie
whispers something to Heather and then both get to
their
feet to join in the standing ovation.
3.
INT.
STAGE - NIGHT
The
cast, beaming and ecstatic at their success, move
forward
in a choreographed curtain call.
Trisha
and John, hand in hand, move forward to the stage's
edge
together and take their bows as leads.
INT.
DRESSING ROOM - NIGHT
Greg and
his cast are accepting the congratulations of
parents,
students and other well-wishers who crowd into the
hallway
outside the dressing room.
With
Greg is his girlfriend, CHRISTY, 30ish, a wealthy
heiress.
She is over-dressed for a high school play.
CHRISTY
I'll see you at home.
GREG
Aren't you coming to the party?
CHRISTY
This is your night. Party as
late as you want.
She
kisses him on the cheek and moves off, as Trisha's
parents
come forward to shake Greg's hand.
MR. AND
MRS. MORRIS are conservative business types, he in
banking
and she in real estate, who hope their daughter
doesn't
get the theater bug so badly she decides to make a
career
of it.
MR. MORRIS
Well done, well done.
GREG
Thank you. We couldn't have done
it without Trish.
He finds
Trisha in the crowd.
GREG
Trish! Trisha!
Trisha
comes out of the crowd, half her theatrical makeup
off,
part of her costume off, and almost ignoring her
parents
she rushes forward to give Greg an embrace.
GREG
You were really great tonight.
4.
He turns
to the parents.
GREG
Wasn't she spectacular?
MRS. MORRIS
It's such a mature role.
Greg
breaks the embrace.
GREG
I'll tell you, she can go as far
as she wants.
This
isn't what the parents want to hear or have encouraged.
Greg's
good friend and fellow teacher, RAYMOND, 30ish, comes
by.
RAYMOND
Good work as always, buddy.
Great job, Trisha.
TRISHA
Thank you.
GREG
Coming to the party?
RAYMOND
Wouldn't miss it.
He moves
off.
MR. MORRIS
Trisha, we have dinner
reservations. How long will it
take you to change?
TRISHA
Can I meet you there?
Mr.
Morris looks at his watch.
MR. MORRIS
Well, I suppose so, if you don't
keep us waiting - I told you the
recruiter from Penn is in town.
I've arranged for him to join us.
He turns
to Greg.
MR. MORRIS
One of the best marketing
curricula in the country.
5.
TRISHA
I'll meet you there in an hour.
She
makes a move toward Greg.
TRISHA
Tell people at the party I'll be
late.
She
gives the teacher a quick hug and disappears back into
the
crowd.
MRS. MORRIS
This is important, dear!
GREG
They get a little crazy on
closing night.
INT.
DRESSING AREA - NIGHT
Connie
and Heather come through the crowd, Heather feeling
her way
ahead with the cane.
(As we
shall learn, she is not really blind but posing as
Greg's
former blind step-daughter, Annie, as part of an
elaborate
set-up and frame job.)
INT.
DRESSING ROOM - NIGHT
Greg is
shaking hands a final time with the Morris' when he
sees
Connie and Heather as they approach. He
is visibly
startled
to find them here.
GREG
Excuse me.
He moves
toward the approaching pair.
CONNIE
Greg?
GREG
Connie? I don't believe this.
HEATHER
Is it Greg?
Greg
turns to Heather, whom he mistakes for his former step-
daughter.
GREG
Annie?
6.
HEATHER
It is you!
Heather
steps forward, arms reaching outward for the approach
she
cannot see, and Greg moves into her arms.
GREG
Annie, my God! This is incredible.
They
embrace a long moment. Greg is clearly
moved that
"Annie"
is there.
CONNIE
We loved the play. Didn't we,
Annie?
HEATHER
I read it before.
GREG
I didn't even know you were in
town.
CONNIE
Well, if you wrote now and
then...
GREG
Annie, you're so - grown. I
wouldn't have recognized you.
CONNIE
She's fifteen.
HEATHER
Almost sixteen.
GREG
You'll have to excuse me, I'm
just speechless.
CONNIE
Well, it's been what, eight
years?
GREG
I wish you'd've called. I mean,
closing night, it's a zoo around
here.
CONNIE
How about lunch tomorrow?
GREG
Tomorrow?
7.
CONNIE
Unless you're too busy.
GREG
Well, yeah, I can fit that in.
Late, say two?
CONNIE
Where do you recommend?
GREG
Let me think.
CONNIE
You are rattled, aren't you?
I'll think of someplace and leave
a message on your machine. You
do have a machine?
GREG
Well, sure, that'll work. Let me
give you the number.
As he
writes it down, JAY, 50ish, the high school principal,
comes
forward to congratulate Greg.
JAY
Greg, my boy, you've done it again!
Greg
passes over his phone number. Connie
takes Heather's
hand,
and they start to move away.
JAY
How you get that quality of
performances out of these kids is
beyond me - but, yessiree, you've
done the magic number one more
time!
Greg
calls after Connie.
GREG
Leave a message on my machine!
INT.
BACKSTAGE AREA - HALLWAY - NIGHT
Greg is
closing up the theater building. He
walks down a
hallway
to the door to the men's dressing room, opens it and
sticks
his head in.
GREG
Anybody home?
No one
answers. Greg reaches inside and turns
out the light.
8.
He
continues down the hallway to the women's dressing room,
opens
it, sticks his head in and looks around.
A SHOWER
is running and the room is full of STEAM.
INT.
WOMEN'S DRESSING ROOM - NIGHT
Greg
steps inside.
GREG
Hello! Time to close up in here!
The
shower stops.
GREG
Hello? Who's in here, please?
TRISHA (O.C.)
I'll just be a minute!
GREG
Trish, is that you?
There is
no response.
GREG
Trish, I've got to close up. And
you're late, your parents are
waiting for you.
He looks
toward the shower area, which is still filled with
steam. Out of the steam comes Trisha now,
naked. She
slowly
walks toward Greg.
GREG
Trish, you'd better get dressed.
You're late.
She
continues her approach.
GREG
I'll wait outside.
As he
turns to go, Trisha rushes to him and embraces him
from
behind, naked and still wet.
Greg
turns, trying to get free, and when they are face to
face,
Trisha plants a passionate kiss on his lips.
It takes
some effort for him to break free. Then
they are
face to
face again.
GREG
Trisha, Jesus . . .
9.
TRISHA
I love you.
She
tries to embrace him again but Greg pulls away.
GREG
I'll be in my office. We need to
talk.
He
hurries out of there.
INT. THE
HALLWAY - NIGHT
Greg
emerges from the dressing room. He
clearly is upset
about
what happened with Trisha in the shower.
INT.
HIGH SCHOOL - GREG'S OFFICE - NIGHT
Trisha
is seated at Greg's desk, bent forward with her head
on her
arms, weeping. She's wearing jeans and
a sweatshirt.
A black
party dress, fresh from the cleaners,
is draped
over the
desk.
Greg is
nervously pacing back and forth.
GREG
It's not what you think, Trisha.
Come on now.
TRISHA
You don't love me.
GREG
I do love you. But there's love
and there's love.
TRISHA
You don't.
GREG
Remember when we studied Greek
culture for the play? How they
had three words for love?
Fidelia, eros and agape? Well,
we are in the fidelia category.
We can love one another as friends.
As he
speaks, Trisha cries even harder. Greg
is beside
himself,
not knowing how to handle her.
10.
GREG
And agape, too, okay? Spiritual
love. Because I do have a very
special feeling for you, Trisha.
Honestly I do.
Trisha
moves up off the desk and looks at him.
Without
makeup,
her face streaked with tears, she looks even younger
than she
is.
GREG
You're very special to me.
TRISHA
But I love you.
GREG
I accept that - as fidelia, as
agape. I love you, too.
She gets
up and moves into his arms. They
embrace. Greg at
first
holds back but finally is hugging her in return.
Then he
breaks the embrace.
GREG
Get dressed, your parents are
expecting you.
Trisha
tries to smile, and Greg touches her cheek.
GREG
That's better. You are special
to me, Trish.
INT.
PARTY HOUSE - LIVING ROOM - NIGHT
Loud
music blasts from a phonograph.
Students are drinking
pop and
dancing.
INT. THE
KITCHEN - NIGHT
Greg is
sipping a beer and watching the dancing in the
living
room through the open door. Then he
sees Trisha enter.
INT. THE
LIVING ROOM
Trisha
looks beautiful now, dressed in a black party dress
which
perfectly accentuates her blonde hair and blue eyes.
INT. THE
KITCHEN
Raymond
taps Greg on the shoulder.
11.
RAYMOND
Get you a beer?
GREG
I'm out of here.
RAYMOND
Already?
Greg
raises his empty beer bottle to the cast members in the
kitchen.
GREG
To a job well done!
Spontaneous
CHEERING breaks out.
Greg
maveuvers to go out the back door. He
disappears just
as
Trisha enters the kitchen.
Trisha
watches Greg go. She looks hurt.
John
moves up beside Trisha and clearly has a crush on her.
JOHN
Hi, Trish. I was hoping you'd
finally get here.
But
Trisha looks lost in thought, staring at the spot where
Greg
disappeared.
EXT. THE
BLUE DOLPHIN RESTAURANT - DAY
The
small French restaurant is in the hills outside Portland,
overlooking
the Willamette River.
INT.
RESTAURANT - DINING AREA - DAY
Greg and
Connie are seated in a table by the window
overlooking
the river.
A WAITER
is pouring wine. When he finishes, he
puts the
bottle
in an ice bucket by the table and leaves.
Connie
raises her glass.
CONNIE
To what?
GREG
Surprises.
CONNIE
Reunions.
12.
They
touch glasses and sip.
GREG
I'm sorry Annie couldn't come.
CONNIE
She wants to spend more time with
you, too.
GREG
She's so grown.
CONNIE
They do that.
GREG
Almost sixteen, huh? Amazing.
CONNIE
Greg, if you want to spend more
time with her, you can. She
feels closer to you than to her
real father. Or to Roger, for
that matter.
GREG
I've missed her, actually.
CONNIE
Listen, Roger has a friend with a
beach house. We'd like to get
away to San Francisco for a day.
His friend would fly us.
GREG
Sounds like you're mixing with
the right people.
CONNIE
I'll ignore that. How would you
like to babysit? Just for a
night. Roger's in the middle of
some kind of business thing, he
can't get away for longer than
that. But you know how I love
San Francisco.
GREG
I remember.
CONNIE
You'll love the beach house.
It'll give you and Ann time to
get re-acquainted.
13.
GREG
Well, sure, I'd like that.
EXT. THE
OREGON COAST - DAY
Greg's
VW bus is driving along the Oregon coast highway. The
view
beyond the highway is spectacular, with magestic rocks
jutting
up out of the ocean under a clear blue sky.
INT.
GREG'S VAN - DAY
Early
Bob Dylan is playing on his car stereo and Greg
listens
thoughtfully. He takes a deep
breath. His face
reflects
a certain nervousness.
EXT.
OREGON COAST - BEACH HOUSE - DAY
Greg
pulls into the driveway of a modern beach house
overlooking
a spectacular view of the Pacific Ocean, isolated
and
without close neighbors.
Greg
gets out and climbs the steps to the front door.
EXT.
BEACH HOUSE - PORCH - DAY
Greg
knocks, then knocks again. He moves to
look through
the
large bay windows facing the porch, cupping his eyes to
look
inside.
He
knocks once more, louder. He tries the
door, and it is
unlocked. He opens it and walks in.
INT.
BEACH HOUSE - ENTRANCE WAY - DAY
Greg
stands inside the door.
GREG
Annie? Anybody home?
He moves
tentatively into the house.
INT. THE
BEACH HOUSE - DAY
Looking
for "Annie," Greg moves through the house, which is
tastefully
decorated with modern art and furniture.
As he
enters the large living room, he notices a deck
outside
and heads for the glass doors which lead to it.
There,
looking outside, he sees Heather alone in a hot tub
on the
deck.
Heather
is naked but still wearing her dark glasses, alone
in the
hot tub which overlooks the ocean.
14.
Greg
slides open the door and goes out onto the deck.
EXT. THE
DECK - DAY
Heather
hears the door open and turns to it.
HEATHER
Is that you, Greg?
GREG
Sure is.
HEATHER
You're late.
GREG
I got lost.
HEATHER
Come on in. Put your clothes on
the bench.
Greg
sees the bench that runs along the outside wall of the
house. Heather's clothes are laid out there.
He moves
to the bench and starts to undress.
HEATHER
We have suits if you're not into
nudity.
The
remark surprises Greg, who is still remembering her as a
little
girl.
GREG
Au naturel is fine.
He
continues to undress.
EXT. THE
HOT TUB - DAY
Naked,
Greg slips into the hot tub across from Heather. The
water is
hotter than he anticipated.
GREG
Oooo . . .
HEATHER
You'll get used to it.
She
smiles in his direction.
15.
HEATHER
I'm really glad to be able to
spend some time with you, Greg.
GREG
Me, too.
He is
obviously feeling awkward, naked in a hot tub with a
girl on
the brink of womanhood.
EXT.
MAIN ROAD - DAY
On the
main road outside the beach house, a distance from
the
driveway, a car pulls over.
FINLEY,
40ish, a photographer, gets out and walks to the
trunk.
He opens
the trunk and takes out camera gear.
Gear in hand,
he
closes the trunk and moves toward the beach house.
EXT. THE
HOT TUB - DAY
Heather
is slowly moving around the circumference of the hot
tub
toward Greg. He is moving away at the
same rate.
HEATHER
How old was I when you left?
GREG
Around eight.
HEATHER
Have I changed?
GREG
Of course you've changed. What
kind of question is that?
HEATHER
Have you changed?
GREG
Yeah, I've changed, too.
HEATHER
Do you have gray hair?
GREG
No, I don't have gray hair.
HEATHER
Why do you keep moving away? I
want to feel your face.
16.
Greg
stops, and Heather comes around the circumference to
catch up
with him, stopping right beside him.
She reaches
out and
slowly feels his face, exploring it.
HEATHER
You have changed. You feel older.
GREG
That's because I am older.
HEATHER
Are you sorry you left us?
GREG
Annie, what happened had to
happen.
HEATHER
I really missed you.
GREG
I missed you, too.
EXT.
OUTSIDE THE BEACH HOUSE - DAY
Finley
continues to approach the house along an embankment
and
reaches a spot now where he gets a good view of the hot
tub. He stops, checking out an unobstructed view
of the hot
tub,
where Greg and Heather are standing close.
Satisfied
with his position, Finley unloads the camera gear
and
prepares to shoot.
EXT. THE
HOT TUB - DAY
Heather
still stands close to Greg, who appears very nervous.
Under
the water, her hand glances against his genitals.
She
giggles. Greg immediately moves away.
HEATHER
What's the matter?
GREG
That wasn't nice.
HEATHER
Who wants to be nice?
GREG
I want to be nice. I'm getting
out.
She
moves across the hot tub toward him, reaching him before
he
climbs out. She embraces him and their
mouths meet.
17.
EXT.
ALONG THE EMBANKMENT - DAY
Finley
is shooting pictures, one after the other.
He grins
with
satisfaction.
FINLEY
Now we're cooking, honey - now
we're cooking.
EXT. THE
HOT TUB - DAY
Heather
is kissing Greg passionately. Finally
he pulls back.
GREG
We shouldn't be doing this.
HEATHER
I missed you so much . . .
GREG
Annie, this isn't right. I'm
practically your father.
HEATHER
Not my real dad.
HEATHER
Don't you think I'm attractive?
GREG
Of course you're attractive.
HEATHER
You just feel sorry for me.
GREG
That has nothing to do with it.
She
again embraces him, kissing him passionately.
EXT.
ALONG THE EMBANKMENT - DAY
Finley
is still snapping away. He is visibly
pleased with
the
results he's getting.
EXT. THE
HOT TUB - DAY
Heather
moves close to whisper to Greg.
HEATHER
Sit up on the edge. I want to go
down on you.
18.
GREG
No!
Heather
makes a move to do so anyway, going underwater, her
hands up
on his chest.
EXT.
ALONG THE EMBANKMENT - DAY
FINLEY
All right, all right . . .!
He
continues shooting pictures.
EXT. THE
HOT TUB - DAY
Greg
pulls away and jumps up out of the hot tub.
Heather
surfaces.
GREG
No, goddamn it, this is wrong!
He moves
away, looking confused and upset. He
goes to the
bench
and starts dressing without drying off.
GREG
I didn't come here to seduce you,
for Christ's sake.
HEATHER
I was seducing you.
GREG
And you shouldn't be. Jesus.
HEATHER
So pretend I'm older.
GREG
I'll be inside.
Half-dressed,
he moves into the house.
EXT. ON
THE EMBANKMENT - DAY
Finley
stops shooting. He looks delighted with
what he's
been
able to get on film.
FINLEY
Honey, you ought to be in
pictures.
19.
INT.
BEACH HOUSE - DINING ROOM - EVENING
Greg and
Heather sit across the dining room table from one
another,
in the middle of an awkward dinner.
Greg is in the
clothes
he arrived in. Heather is wearing a
robe. As ever,
she has
the dark glasses on.
HEATHER
So shoot me or something.
GREG
I'm not going to shoot you.
HEATHER
You might as well - you won't
talk to me.
GREG
Frankly, I don't know what to say
to you. How the hell's a girl
your age know about stuff like
that?
HEATHER
I know a lot more than that.
EXT.
BEACH HOUSE - OUTSIDE DINING ROOM - EVENING
Finley
is taking photos of their dinner through a window.
INT.
DINING ROOM - EVENING
Greg is
pouring himself some more wine.
HEATHER
Don't I get any?
GREG
You're too young.
Heather
gets up from the table and, feeling her way, fetches
a wine
glass, comes back and, feeling along the table, finds
the
bottle and pours herself wine.
HEATHER
You're really a geek.
GREG
Why, because I won't screw you?
You're practically my daughter.
HEATHER
If I'm your daughter, how come
you never wrote us?
20.
Greg
looks a little guilty and does not reply.
HEATHER
I'm not a virgin.
GREG
Yeah, I got the impression you
aren't.
HEATHER
This is going to be a great
weekend.
GREG
Tell me about it.
HEATHER
What are you afraid of?
GREG
Who the hell are you? Where's
the cute little eight-year-old I
knew? You sound like a hooker.
HEATHER
You sound like a dinosaur.
GREG
I'm going to watch television.
He moves
away from the table. Heather pours
herself some
more
wine.
EXT. THE
HIGHWAY - NIGHT
Finley
is putting the camera gear into the trunk of his car
when
another car approaches and pulls up behind him. He
recognizes
it and walks to the driver's window.
The
other car is driven by Connie.
CONNIE
Did you get them?
FINLEY
Couldn't have been better.
CONNIE
You have everything we need?
FINLEY
Hey, the kid's a natural.
21.
CONNIE
Good.
She
backs up and pulls back onto the highway, continuing
ahead to
the beach house.
INT.
BEACH HOUSE - DEN - NIGHT
Greg is
watching television. The front door
opens and
Connie
walks in.
Greg
gets up and meets her in the living room off the
entranceway.
INT.
BEACH HOUSE - LIVING ROOM - NIGHT
Greg
starts to speak but is cut off by Connie.
CONNIE
Surprise, surprise. There ought
to be a law against those goddamn
portable telephones. We're
halfway to San Francisco and
Roger gets an urgent call, and we
have to turn back. So much for a
weekend in the city. Where's
Annie?
GREG
In her room.
CONNIE
How are you two getting along?
GREG
It's a long story.
CONNIE
Sounds like she got in one of her
moods. Their age, they can pout
for days at a time.
GREG
Listen, since you're here, I
think I'll drive on home.
CONNIE
You don't have to go. There's a
guest room you can use. Spend
the weekend. Roger won't be long.
I want you to meet him.
22.
GREG
To tell the truth, I can use the
time to grade papers this
weekend.
Greg
moves quickly, heading for the door.
CONNIE
You can grade papers here. I
can't believe you didn't bring
your work. Don't you think the
house is gorgeous?
GREG
Too gorgeous. It's a distraction.
Listen, I really appreciate
everything, I ah, I'll call you -
I don't have your number, you
call me.
CONNIE
Greg? Did something happen
between you and Ann?
GREG
Of course not. It's just been,
you know, so long - we hardly
know one another any more.
CONNIE
What did you expect?
GREG
Gorgeous house, really. Thanks
for everything. Give me a call.
He leaves.
Connie
moves to the window to watch him go to his car.
EXT.
BEACH HOUSE - NIGHT
Greg
gets into his car and backs out the driveway.
INT.
BEACH HOUSE - ENTRANCEWAY - NIGHT
Connie
turns away from the front window to find Heather
behind
her.
CONNIE
How'd it go?
HEATHER
Just like you said it would.
23.
She
takes off her dark glasses.
Without
the glasses on, Heather's eyes are clear, and
obviously
she is not blind.
Heather
smiles at Connie.
EXT.
HIGH SCHOOL STADIUM - FOOTBALL FIELD - DAY
STUDENTS
in caps and gowns march to music played by the
school
band. Graduation ceremonies are under
way.
EXT.
HIGH SCHOOL STADIUM - BLEACHERS - DAY
Greg and
Christy sit in the bleachers, watching the ceremony.
It's a
beautiful day, and the excitement and joy in the air
are
palpable.
EXT. A
STREET OUTSIDE THE STADIUM - DAY
A car
slowly moves down a street outside the stadium.
INT. THE
CAR - DAY
The car
is occupied by two MEN dressed in suits.
Their
demeanor
suggests "the law."
EXT.
PARKING LOT OUTSIDE STADIUM - DAY
The car
pulls into the parking lot and drives close to the
stadium,
finally parking illegally. The two men
get out.
One of
the men has a manilla envelope. He
takes a photograph
out of
it.
INSERT:
THE PHOTOGRAPH
It is a
photo of Greg and Heather in the hot tub, nude, the
teenager
smiling and standing very close to him.
EXT.
PARKING LOT - DAY
The men
are perusing the photograph.
FIRST OFFICER
Guys like him make me puke.
They
enter the stadium.
EXT.
FOOTBALL FIELD - DAY
After
the ceremonies, parents and friends come onto the
field to
congratulate the graduating seniors, who beam in
their
caps and gowns.
24.
Greg is
giving Trisha a big hug as Christy and her parents
watch. Mr. Morris has a camera.
TRISHA
Take my picture with Greg.
GREG
Hey, I may break the camera.
TRISHA
Don't be silly.
Trisha
puts her arm in his in a pose suggesting they are a
couple,
rather than teacher and student.
Mr.
Morris takes position to snap the photo.
TRISHA
I'll put it on my desk in the
dorm.
MRS. MORRIS
Then Greg can take one of us.
Across
the way, the police officers work their way through
the
crowd, looking for Greg. One of them
sees him.
SECOND OFFICER
Over there.
They
move off.
Greg has
just snapped the family photo.
GREG
Good show.
The two
officers move into the scene.
FIRST OFFICER
Gregory Barstow?
GREG
Yes.
The
first officer flashes his badge.
FIRST OFFICER
You're under arrest.
GREG
Pardon me?
25.
FIRST OFFICER
Please come with us, sir. We'd
like to make as quiet a scene
here as possible.
Christy
butts in.
CHRISTY
You can't just barge in here like
this.
SECOND OFFICER
Please, ma'am.
GREG
Christy, I'll handle it. I'm
sure there's some mistake here.
What's the charge?
SECOND OFFICER
If you'd come with us, please.
GREG
I want to know the charge.
The
first officer smiles, looking like he is enjoying this.
FIRST OFFICER
Let's call it "moral
turpitude."
You ready to come with us now?
Greg
looks stunned by the charge. The
officers start to
lead him
away.
CHRISTY
Don't say a word until I call my
lawyer.
TRISHA
What is going on?
Trisha
makes a move to go after Greg but is stopped by her
father.
Christy
moves to Trisha, comforting her, and they all watch
the
officers lead Greg away.
EXT.
PORTLAND POLICE DEPARTMENT - DAY
Police
headquarters is located in the new City Hall building
downtown.
26.
INT.
POLICE HEADQUARTERS - LARGE ROOM - DAY
Greg,
sitting at a conference table, is looking through the
photographs
of himself and Heather in the hot tub.
Across
from him sits DETECTIVE VILLANOVA, 60ish, a hard-
looking
veteran close to retirement age.
DETECTIVE VILLANOVA
So you going to tell me you have
a twin or what?
GREG
It's me. But nothing happened.
DETECTIVE VILLANOVA
That's not what the girl or her
mother says.
GREG
As soon as Annie made advances, I
was out of there. We barely
talked to one another the rest of
the evening.
DETECTIVE VILLANOVA
Who's Annie?
GREG
What do you mean, who's Annie?
The girl. My former
step-daughter.
DETECTIVE VILLANOVA
I don't know about step-daughters
but this here is Heather Swanson.
GREG
That's ridiculous.
DETECTIVE VILLANOVA
She and her mother--
GREG
Her mother is my ex-wife, Connie.
I'm not sure what last name she's
using now. She may have remarried.
DETECTIVE VILLANOVA
Charges were filed by one Ms.
Judi Swanson, in behalf of her
daughter, Heather. Here, look
for yourself.
27.
He
passes a sheet of paper to Greg, who grabs it.
He is
visibly
shocked at what he reads.
GREG
This is-- . . . Christ, I don't
know what it is. A set-up or
something. Who took these
photographs?
Villanova
smiles at him.
GREG
This girl is my step-daughter,
and she's blind. Look, see the
dark glasses?
DETECTIVE VILLANOVA
Maybe she thinks she's cool.
GREG
She's blind, damn it!
DETECTIVE VILLANOVA
She wasn't blind when I talked to
her the other day. She told her
story looking me straight in the
eye.
INT.
POLICE HEADQUARTERS - JAIL CELL - EVENING
Greg is
alone in his cell. Down the hallway, a
jail door
opens
and shuts with a loud clanging noise.
Greg
moves to the bars to see who is coming.
It is Jay, the
principal
of the high school, who is escorted to the cell by
a police
officer.
JAY
I'm sorry I couldn't get here
earlier.
Jay
enters the cell, which the police officer closes behind
him. The officer leaves.
JAY
I had a larger room in grad
school.
GREG
I don't know what the hell's
going on, Jay.
JAY
If I could believe you, that
would be a relief.
28.
GREG
I'm innocent, goddamn it!
JAY
Greg, you're a very talented
teacher but your lifestyle . . .
you know I never approved of you
moving in with Christy. It sets
a bad role model. And now this.
GREG
I've never heard of this
girl. I
thought it was my step-daughter.
Ex-step-daughter. And nothing
happened between us.
JAY
I want to believe that. Christy
will pay your bail, of course.
They wouldn't let both of us in
to see you.
GREG
Are you telling me I can get out
of here?
JAY
It shouldn't be long. I just
wanted to come by and see for
myself.
GREG
Jay, I'm innocent.
JAY
Good. Good.
INT.
JAIL - PRISONER INTAKE AREA - NIGHT
A POLICE
OFFICER is giving Greg some personal possessions
that
were taken from him.
In the
adjacent waiting area, Christy and Raymond are
waiting
for him. When Greg has his things, he
joins them.
GREG
Let's get the hell out of here.
EXT.
POLICE HEADQUARTERS - NIGHT
Greg,
Christy and Raymond come out of the building.
29.
GREG
Half a day in there feels like
eternity.
RAYMOND
Where to?
GREG
My car's still at school.
RAYMOND
I thought you might want a beer
first.
CHRISTY
You two go. I want to be home in
case the lawyer calls.
GREG
You're sure?
Christy
kisses him on the cheek.
CHRISTY
Don't be too late.
INT.
COCKTAIL LOUNGE - NIGHT
Greg and
Raymond sit in a corner booth, nursing drinks.
GREG
She's blackmailing me, man.
That's the only thing that makes
any sense.
RAYMOND
I thought you told me you'd never
been married.
GREG
Did I? Must have blacked it out.
I'm scared, Ray.
RAYMOND
"Hell hath no fury like a
woman
scorned."
GREG
I mean it. Our divorce was
really ugly.
RAYMOND
Doesn't that go with the genre?
30.
GREG
She accused me of having an
affair with a student.
RAYMOND
Really?
GREG
That happens, man, you're guilty
until proven innocent.
I had to
settle with Connie and the school
district out of court. I agreed
to quit teaching in California.
RAYMOND
Why, if you were innocent?
GREG
I was sick of California anyway.
I moved up here right after the
divorce.
RAYMOND
Greg, I just need to hear you say
it: you didn't mess with this
girl, did you?
GREG
No. I swear to God, she came on
like gangbusters but I didn't
touch her. The guy was outside
taking pictures. It was all
planned.
RAYMOND
If what happened in California
comes up . . .
GREG
I know, man. That's why I'm
scared.
EXT.
WEST HILLS NEIGHBORHOOD - CHRISTY'S HOUSE - DAY
Christy's
house is a large Victorian in the exclusive West
Hills
section of Portland. Greg's VW van is
in the driveway,
parked
behind Christy's BMW.
Greg
comes out the door and heads for his van.
INT.
HOUSE - BEDROOM - DAY
Christy
gets out of bed and puts on her robe.
31.
CHRISTY
Greg?
She
heads for the kitchen.
INT. THE
KITCHEN - DAY
Christy
enters the kitchen, looking for Greg.
She heads for
the
living room.
INT.
LIVING ROOM - DAY
Christy
goes to the front window and looks outside.
She
sees
Greg in the van.
Christy
hurries to the front door and opens it.
EXT.
CHRISTY'S HOUSE - DAY
Christy
comes out onto the porch and watches Greg's van move
down the
street.
EXT.
FREEWAY ENTRANCE - DAY
Greg's
van pulls onto the freeway.
INT. VAN
- DAY
Behind
the wheel, Greg looks both apprehensive and determined.
EXT.
COAST HIGHWAY - DAY
The van
is driving along the coast, along the same stretch
of
highway that leads to the beach house.
EXT.
BEACH HOUSE - DAY
The van
pulls into the driveway of the beach house.
Greg
gets out
and goes to the front porch. He knocks
on the door.
INT.
BEACH HOUSE - DEN - DAY
Heather
is watching television and hears the knock on the
door.
Glass
windows look out onto the deck, where Heather's
mother,
JUDI SWANSON, 30ish, is in the hot tub.
She's a
hard-looking
woman who looks like she's had a tough life.
Heather
gets up to answer the door. Along the
way, however,
she
recognizes Greg through a window.
She
turns and hurries off to get her
mother.
32.
EXT.
PORCH - DAY
Through
the window Greg watches Heather approach and then
turn to
hurriedly leave. He looks alarmed.
GREG
Hey, wait a minute! Come back
here!
Greg
quickly follows the wrap-around porch toward the rear
deck.
EXT.
DECK - HOT TUB - DAY
Heather
arrives at the hot tub.
HEATHER
That man's here!
Judi
gets out and slips into a robe. Greg
comes around the
corner
to face them.
JUDI SWANSON
One more step and I'll call the
police.
GREG
I don't want any trouble.
JUDI SWANSON
You've already caused trouble.
GREG
I don't even know you.
JUDI SWANSON
You know my daughter.
GREG
I thought she was my step-
daughter. Why are you doing this?
My ex-wife put you up to it,
didn't she?
No one
replies.
GREG
Did she pay you, is that it?
Judi and
Heather just stare at him. Heather
looks much more
nervous
than her mother.
Greg
takes a step forward.
33.
JUDI SWANSON
I'll call the police.
She make
a move toward the sliding door into the house.
GREG
Wait! Please. I'm not here to
cause trouble.
JUDI SWANSON
Bullshit, you ain't. We got
nothing to say to you, mister.
Turn your ass around and go home.
GREG
Just tell me why. Why me?
No one
answers him. Finally Greg turns and
leaves.
EXT.
BEACH HOUSE - NIGHT
Greg is
in his van, which is parked along the road down from
the
beach house.
He is
spying on Judi and Heather, who are sitting at the
table,
having dinner.
INT. VW
VAN - NIGHT
Greg
watches them from the van. He has a
pint of whiskey
and is
sipping from it. He looks very upset
about what has
transpired.
EXT.
BEACH HOUSE - NIGHT
A police
patrol car pulls up behind the van. A
POLICE
OFFICER
gets out and approaches the van.
INT. VAN
- NIGHT
Greg
sees the patrol car through his rearview mirror. He
quickly
puts the liquor bottle into the glove compartment.
EXT. VAN
- NIGHT
Greg
gets out to talk to the officer.
GREG
Evening, officer.
PATROL OFFICER
Evening. Is there a problem here?
34.
GREG
Not any more. I just
changed a
flat.
PATROL OFFICER
I see.
GREG
I'm from Portland. Is there a
gas station open around here?
PATROL OFFICER
Newport would be the closest at
this hour.
GREG
Right. Well, thanks a lot,
officer.
He heads
back to the van. The officer turns and
goes back
to the
patrol car.
INT. VAN
- NIGHT
Greg
watches as the patrol car pulls around him and leaves,
waving
as the officer passes. He takes a deep
breath.
He turns
on the engine.
EXT.
PRINCIPAL'S HOME - DAY
The
principal's home is a fashionable modern house in a
middle
class neighborhood.
Some
cars are parked behind one another in the driveway,
others
along the curb out front. One of the
latter vehicles
is
Greg's VW van.
INT.
PRINCIPAL'S HOME - LIVING ROOM - DAY
Jay, the
principal, taps on a wine glass for attention.
JAY
Attention, please. Let's get
this show on the road.
The
living room is filled with faculty members, including
Greg and
Raymond, who are chatting among themselves.
As Jay
taps the wine glass again, everyone quiets down.
35.
JAY
Before we get down to our regular
business, I want to express my
unequivocal support of Greg in
this difficult time.
Spontaneous
applause bursts out in the room. When
it dies
down,
the principal continues.
JAY
Greg, we just want you to know
you've got a lot of friends here.
GREG
Thanks, I needed that.
Everyone
starts talking at once, giving Greg verbal support.
Jay taps
on the wine glass again.
EXT.
PRINCIPAL'S HOME - DAY
Faculty
members are coming out to their cars after the
meeting.
On the
porch, Greg is talking to Raymond when Jay approaches
him.
JAY
Can I speak to you a moment,
Greg?
RAYMOND
I'll call you tonight, buddy.
GREG
Right.
Raymond
moves off. Jay and Greg are alone on
the porch.
JAY
Shall we step inside?
GREG
It's that bad?
Jay
forces a laugh and stays on the porch.
JAY
That's not the word I'd use.
Greg, I mean it when I say I'm
behind you all the way. But I
have to look at the big picture.
36.
GREG
Which is why you took away my
summer class, right?
JAY
I can't afford the publicity.
Not everyone is likely to be as
charitable as we are.
GREG
Charitable?
JAY
To know you like we do.
Greg
looks like he is about to blow his top but manages to
keep his
cool.
GREG
In other words, I'm guilty until
proven innocent.
JAY
That's not what I mean at all.
Greg
starts away.
GREG
That's what the hell it feels
like!
JAY
Don't do anything rash. It makes
you look guilty.
GREG
Fuck you.
Greg
trots to his car and gets in. He peels out.
EXT.
PORCH - DAY
Jay
watches him go, shaking his head. His
expression
suggests
that he actually is confused about Greg's innocence
or
guilt.
EXT.
CHRISTY'S HOUSE - NIGHT
Greg's
van is parked behind Christy's BMW in the driveway.
INT.
CHRISTY'S HOUSE - DINING ROOM - NIGHT
Greg and
Christy are having dinner in the elegant dining
room. Christy abruptly puts down her fork.
37.
CHRISTY
How long is this going to go on?
GREG
What go on?
CHRISTY
You not talking to me.
GREG
I'm sorry. I feel . . . I don't
know how I feel.
CHRISTY
You'll feel better after talking
to the lawyer tomorrow.
The
phone in the nearby kitchen starts ringing.
CHRISTY
It's probably for you. Want me
to say you're not here?
GREG
It may be Raymond.
He gets
up to answer the phone.
INT.
KITCHEN - NIGHT
Greg
answers the phone.
GREG
Hello?
TRISHA (FILTERED)
Hi. This is Trisha.
Greg
cups his hand over the phone's mouthpiece.
GREG
Hi.
There's
an awkward pause.
TRISHA (FILTERED)
I was wondering how you're doing.
GREG
All right, under the
circumstances.
TRISHA (FILTERED)
No one believes you're guilty,
Greg.
38.
GREG
I'm not so sure of that.
TRISHA (FILTERED)
I don't.
GREG
I appreciate it.
TRISHA (FILTERED)
I'd like to see you.
GREG
Listen, ah, this is a bad time to
talk. I'll get back to you, okay?
TRISHA (FILTERED)
I love you, Greg.
GREG
I have to go. I'll be in touch.
He hangs
up.
INT.
DINING ROOM - NIGHT
Greg
returns to the dining room and sits down to finish his
dinner.
CHRISTY
How's Raymond?
GREG
Fine.
CHRISTY
Is something the matter?
GREG
Is that supposed to be a joke?
CHRISTY
Honey, I'm sorry.
They
both eat in silence.
INT.
HALLWAY - OFFICE DOOR - DAY
The door
reads "Harrison Browning, Attorney at Law".
39.
INT. LAW
OFFICE - DAY
Greg
sits in conference with Christy's lawyer, BROWNING,
40ish,
smartly dressed in a suit and vest.
Greg is wearing
is
customary "sixties" theatrical costume, with a tie-dye
shirt
and beads.
BROWNING
One other thing, Greg.
Browning
stares at him, looking expectant.
Finally Greg
answers.
GREG
What's that?
BROWNING
Your wardrobe. You always dress
like that?
GREG
I don't wear a three-piece suit,
if that's what you mean.
BROWNING
You own one?
GREG
As a matter of fact, I
don't. Why?
BROWNING
Buy one.
GREG
What for?
BROWNING
To wear in court.
GREG
I'm innocent, I don't see why I--
BROWNING
Don't ask questions, just do it.
I know what I'm doing. If you
don't trust me, get another
lawyer.
INT.
MEN'S CLOTHING STORE - DAY
Greg is
modeling a three-piece suit as Raymond watches.
The
SALESMAN, in his twenties, pulls at the shoulders,
checking
the sleeve length, making sure the fit is good.
40.
GREG
I feel like an idiot.
INT.
SHOPPING MALL - DAY
The
men's clothing store is located in a shopping mall.
Customers
crowd the walkways leading past a wide variety of
topline
stores.
Connie
appears, holding a shopping bag and heading in the
direction
of the men's store.
INT. MEN'S
CLOTHING STORE - DAY
Greg is
still being fitted when Connie comes by the store
window. Turning, Greg suddenly sees her.
GREG
That's her!
Greg
moves away from the salesman, who has been making a
measurement,
and hurries for the door. He is in
stocking
feet and
still wears the suit.
As he
makes his move, Connie turns and recognizes him. She
rushes
off.
Greg
runs out of the store, hurrying after her, as the
saleman
yells at him.
SALESMAN
Sir, you can't--!
RAYMOND
We'll be right back, I promise.
Raymond
joins the chase, with the salesman right behind him.
INT. THE
MALL - WALKWAY - DAY
Connie
is running down the walkway, followed by Greg,
followed
by Raymond, followed by the salesman.
GREG
Connie! I just want to talk!
Connie
turns and looks frightened, as Greg gains ground on
her. She stops a passing GENTLEMAN for help,
pointing at
the
approaching Greg.
CONNIE
That man tried to rape me!
Please help me!
41.
She runs
off again.
Greg
reaches the gentleman, who sets his body in the way
like a
linebacker. Greg makes an effort to get
around him,
fails,
and the gentleman tackles him to the ground.
GENTLEMAN
Police, police!
Connie
reaches an escalator down to the parking garage,
turns
and sees that she is safe, and boards the escalator
with a
sigh of relief.
INT.
MALL - DAY
Greg is
trying to explain himself to a POLICEMAN, as Raymond
tries to
help and the anxious salesman tries to get his
garment
back, everyone talking at once.
A
growing crowd gathers to see what is going on.
INT.
LAWYER'S OFFICE - DAY
Greg
sits across the desk from Browning, who is looking at a
photograph
of Connie.
GREG
You do investigate things, don't
you? You subcontract a private
eye or something?
BROWNING
Yes, I have an investigator.
GREG
Then find her. There's no doubt
it was her.
BROWNING
I'll look into it.
GREG
I want you to find her!
EXT.
COAST HIGHWAY - DAY
Greg's
VW van speeds along the highway, passing familiar
coastal
scenery.
INT. VAN
- DAY
Greg
drives. Raymond sits in the passenger
seat.
42.
GREG
Not far now.
RAYMOND
I still think this is crazy.
GREG
You'll do fine.
RAYMOND
I'm not like you, I'm not a
theater person. I'm a closet
intellectual.
GREG
You're a natural actor, believe
me.
EXT.
BEACH HOUSE - DAY
Greg's
van pulls to the shoulder of the road.
In the near
distance
is the beach house.
INT. VAN
- DAY
GREG
You ready?
RAYMOND
As I'll ever be.
GREG
The secret is the free offer.
That should at least get you
inside.
EXT. VAN
- DAY
Greg and
Raymond get out and go to the van's sliding door,
which
Greg opens.
Greg
brings out a new set of knives and a cutting board,
wrapped
in their original packaging. He gives them to Raymond.
GREG
One free gift.
Greg
brings out a clipboard, also handing it to Raymond.
GREG
One petition for a worthy cause.
Raymond
shakes his head.
43.
RAYMOND
What if they don't want to save
the whales?
GREG
Everybody wants to save the
whales. They get a free gift just
for listening to your rap. It'll
work. Trust me.
RAYMOND
I feel like a fool.
GREG
Break a leg.
He gives
Raymond a gentle shove toward the beach house.
EXT.
BEACH HOUSE - FRONT PORCH - DAY
Raymond
approaches the house, goes up on the porch and
knocks
on the front door. He waits nervously.
When
there is no immediate answer, he turns to walk away but
the door
opens before he is off the porch.
CHESTER
WILLIAMS, 60ish, a dapper gray-haired gentleman,
answers
the door.
CHESTER WILLIAMS
Can I help you?
Raymond
is taken aback to see an old man.
RAYMOND
Ahm, is the, ah, lady of the
house in?
CHESTER WILLIAMS
I'm afraid she's been dead for
almost five years.
RAYMOND
Oh, ah, I'm sorry.
CHESTER WILLIAMS
What are you selling, young man?
RAYMOND
I'm sorry, I think I have the
wrong address.
He
hurries off as Williams watches him go, looking a little
amused.
44.
EXT. VAN
- DAY
Raymond
returns, still carrying the free gift.
GREG
Didn't you ask him who he was or
anything?
RAYMOND
No woman lives there, he said.
You sure you got the right place?
GREG
Christ, if you want something
done right, do it yourself.
He heads
for the beach house.
RAYMOND
I didn't want to do this in the
first goddamn place!
Greg
continues toward the house. With an
exasperated sigh,
Raymond
follows behind. Greg turns to him.
GREG
Wait here. You already blew your
cover.
Greg
continues on alone.
EXT.
BEACH HOUSE - PORCH - DAY
Greg
goes to the door and knocks. Once
again, Williams
answers.
CHESTER WILLIAMS
Yes?
GREG
I understand this is a rental?
CHESTER WILLIAMS
It is.
GREG
And you're the owner?
CHESTER WILLIAMS
I am.
GREG
But my sister's probably already
gone, right?
45.
CHESTER WILLIAMS
And who is your sister?
GREG
Judi Swanson. I'm not sure if
she rented it in her name or her
girlfriend's. Connie something.
CHESTER WILLIAMS
Judi Swanson did rent the house
through the weekend.
GREG
I was supposed to be here myself.
I live in Chicago and, well, got
tied up on business and couldn't
make it. The thing is - this is
so embarrassing - I'm not sure
where she's staying now. She
just separated from her husband.
With the kid and all, it's tough.
Anyway, I wonder if you could
help me. Did she leave a
forwarding address?
CHESTER WILLIAMS
You're her brother?
GREG
Yes, sir.
CHESTER WILLIAMS
Come in.
INT.
BEACH HOUSE - DEN - DAY
Williams
stands at a desk, looking through the registration
book.
CHESTER WILLIAMS
Here we are.
EXT. VAN
- DAY
Greg
returns to the van and gets in.
INT. VAN
- DAY
Greg
starts the engine.
RAYMOND
Well?
46.
GREG
Judi Swanson has a Portland
address.
EXT.
COAST HIGHWAY - DAY
The van
pulls back onto the highway.
EXT.
PORTLAND FREEWAY - NIGHT
Greg's
van is on the freeway, approaching the Portland
skyline.
Greg
changes lanes to hit a ramp connecting to another
stretch
of freeway.
INT. VAN
- NIGHT
Raymond
responds to the lane change.
RAYMOND
Where are we going?
GREG
Where do you think?
RAYMOND
You're going to that part of town
without a police escort? Count
me out.
GREG
Come on, man, what can happen?
RAYMOND
What, you don't read the paper?
Drive-by shootings, drug wars--
GREG
At this hour, the two of us
together, we'll be fine.
He turns
to look at Raymond.
GREG
I can't turn around now, Raymond.
EXT.
FREEWAY RAMP - NIGHT
Greg's
van enters a new section of freeway, heading to North
Portland.
47.
EXT.
NORTH PORTLAND - MAIN DRAG - NIGHT
Greg's
van is cruising the main drag of North Portland. This
street
was the old 99 highway years ago, in an era before
freeways,
but now it's the closest thing Portland has to a
ghetto,
with the street lined with run-down motels and
boarded-up
businesses.
At
street corners and bus stops are women who are clearly
prostitutes,
some not very subtle in their solicitations of
passing
motorists.
EXT.
MAIN DRAG - NIGHT
Greg
stops for a stoplight. A BLACK
PROSTITUTE is at the
corner.
Young
and heavily made up, the prostitute sticks out her
tongue
at the van, making seductive licking motions.
INT. VAN
- NIGHT
Raymond
is visibly shocked.
RAYMOND
Jesus Christ. She can't be
seventeen.
GREG
Who can tell in all that makeup?
RAYMOND
We were once the most livable
city in America. Christ, she's
coming this way.
EXT.
STREET CORNER - NIGHT
The
prostitute seductively heads toward the van.
PROSTITUTE
Hey, baby, you be lookin' for a
date or what?
Her
expression changes now, in reaction to the light's
changing
and Greg's van pulling away.
PROSTITUTE
Get back to where you belong,
honky muthafukas!
The van
speeds through the intersection.
48.
EXT.
QUIET STREET - NIGHT
The van
cruises a quiet-looking neighborhood, as Greg and
Raymond
look for an address. Though the
neighborhood is
quiet,
most of the houses along the street are in need of
paint
and repairs.
INT. VAN
- NIGHT
Greg
points at a house.
GREG
There, what's the address there?
RAYMOND
I can't make it out.
Greg
pulls the van to the curb.
GREG
It's in this block.
EXT.
NEIGHBORHOOD STREET - NIGHT
They
both get out.
GREG
This way.
Greg
leads the way down the block. He stops
in front of a
run-down
house. There are lights on inside.
GREG
That one was 2130. This must be
it.
RAYMOND
Let's come back when the sun's
up.
GREG
I want to surprise her.
He
starts up the walk, which is bordered by an unkempt lawn.
Raymond
reluctantly follows.
EXT.
HOUSE - FRONT PORCH - NIGHT
They
reach the porch and go to the front door.
There is no
porch
light. Greg looks at Raymond, then
knocks on the door.
RAYMOND
Let's get the hell out of here.
49.
GREG
I think someone's coming.
RAYMOND
Greg, for Christ's sake--
He stops
when the door opens. FREDDY, a black
teenager,
appears. His shirt is off, showing a muscular
physique, and
he wears
a gold chain around his neck.
FREDDY
Yeah, what you want?
Greg
turns to RAYMOND, then back to Freddy.
A voice is
heard
inside the house.
HEATHER (O.C.)
Who is it, Freddy?
FREDDY
I think they got the wrong
address. That right, man?
GREG
Perhaps so.
Heather
appears in the doorway, and Greg immediately
recognizes
her as the girl in the hot tub. She
also
recognizes
him.
HEATHER
Freddy, that's him!
Greg and
Raymond turn and race off the porch, heading for
the car.
EXT.
HOUSE - NIGHT
Freddy
runs after them, and Heather comes onto the porch to
watch. Just before Greg and Raymond reach the car,
Freddy
catches
up.
There is
a brief scuffle, and together Greg and Raymond
manage
to throw Freddy to the ground. He draws
a switchblade
knife,
getting up to confront them.
FREDDY
What you want, man?
GREG
I'm sorry, we made a mistake.
FREDDY
You made a big mistake.
50.
GREG
We'll be on our way.
FREDDY
You make a bigger mistake if you
come around here again.
Greg
motions to Raymond to get into the van, which they both
do. Freddy cautiously approaches the passenger's
window.
INT. VAN
- NIGHT
Raymond
locks the passenger door.
RAYMOND
Will you get the hell out of
here?
Greg
starts the engine, and the van pulls away from the curb.
Freddy
watches them go, as Heather comes to his side.
HEATHER
He'll screw everything up, I know
he will.
FREDDY
We got pictures, and he don't
know shit.
INT.
COCKTAIL LOUNGE - NIGHT
Greg and
Raymond sit at the bar. Both have had a
little too
much to
drink.
GREG
You're a witness, right? You saw
the girl at the play.
RAYMOND
I don't remember her at the play.
The
BARTENDER comes by.
BARTENDER
You got two minutes.
Greg
finishes his drink and hands the glass to the bartender.
Raymond
pushes a half-full drink forward, which Greg takes,
finishing
it in a single gulp.
GREG
We're out of here.
51.
EXT. BAR
- PARKING LOT - NIGHT
They
stand next to the van.
RAYMOND
You sure you can drive?
GREG
I'm fine.
Raymond
takes the keys from him.
RAYMOND
I'll drive to my place, how's
that? You can stay over.
Greg
gets into the passenger seat.
INT.
RAYMOND'S APARTMENT - LIVING ROOM - MORNING
Greg is
asleep in his clothes on the divan and stirs.
He
sits
up. He looks at his watch.
He
struggles to his feet and heads for the front door.
EXT.
RAYMOND'S APARTMENT - MORNING
Greg
comes outside. The sun is about to
rise. He finds his
van in
the apartment's parking lot.
INT.
CHRISTY'S HOUSE - BEDROOM - MORNING
Christy
is asleep in bed.
EXT.
CHRISTY'S HOUSE - DRIVEWAY - MORNING
Greg
pulls into the driveway, parking behind the BMW, and
gets
out.
INT.
CHRISTY'S HOUSE - MORNING
Greg
comes in. He moves through the front
foyer, through
the
living room, and down a hall to the bedroom.
INT. THE
BEDROOM - MORNING
Greg
comes in and plops down on the bed in his clothes, next
to
Christy. He snuggles close against her.
Christy
stirs, opens her eyes and sits up with a frightened
gasp.
52.
CHRISTY
Greg, Jesus Christ, you scared me
to death. Where have you been?
GREG
I found her.
CHRISTY
You're drunk. I'll make coffee.
She gets
out of bed.
INT.
CHRISTY'S HOUSE - BREAKFAST BAR - DAY
Greg
sits at the breakfast bar, sipping coffee.
Christy, in
her
robe, sips coffee while doing kitchen chores.
GREG
You don't believe me, do you?
CHRISTY
I don't know what to think.
GREG
I don't believe in conspiracies.
I mean, I think Oswald acted
alone when he shot Kennedy but I
swear to God, I think I'm the
victim of some kind of
conspiracy.
That girl pretended to be Annie.
It was a set-up from the start.
CHRISTY
Why would anyone set you up?
Greg
shrugs.
GREG
I don't know.
He gets
up and starts out of the kitchen.
CHRISTY
Now where are you going?
GREG
I don't know. I can't sit
still, man. For a drive, I guess.
CHRISTY
Greg, please be careful.
He nods
and leaves. Christy waits until she
hears the door
close.
53.
As soon
as he's gone, she goes to the phone and dials a
number. After a few rings, Connie answers.
CONNIE (FILTERED)
Hello?
CHRISTY
What the hell's going on?
CONNIE (FILTERED)
Christy?
CHRISTY
He says he found the girl.
CONNIE (FILTERED)
That's impossible.
CHRISTY
I'm coming over.
CONNIE (FILTERED)
Now?
CHRISTY
I'll be there in twenty minutes.
She
hangs up.
INT.
LAWYER'S OFFICE - DAY
Greg
once again is seeing his lawyer, who is on the phone.
Browning
hangs up.
BROWNING
This better be legit.
GREG
There were two of us, we both saw
her.
BROWNING
Let's go find out.
They get
up to go.
EXT.
NORTH PORTLAND NEIGHBORHOD - DAY
Browning's
car is parked along the curb, several houses down
from the
house in which Greg found Heather.
Another
car approaches.
54.
INT.
BROWNING'S CAR - DAY
Browning
sees the approaching car.
BROWNING
Here he is.
EXT. CAR
- DAY
Greg and
Browning get out as the other car parks across the
street. Villanova gets out and crosses the street to
them.
GREG
It's that house there.
DETECTIVE VILLANOVA
I thought you had a witness.
GREG
He couldn't make it on such short
notice.
BROWNING
I assume he'll be available if
there's an arrest.
GREG
Of course.
They
head toward the house.
EXT.
HOUSE - FRONT PORCH - DAY
They go
up onto the front porch.
DETECTIVE VILLANOVA
You want to do the honors?
Greg
nervously knocks on the door. He knocks
again. Finally,
an OLD
BLACK MAN answers the door.
OLD BLACK MAN
Yes, sir, can I help you?
GREG
I want to see the girl who lives
here.
OLD BLACK MAN
Ain't nobody here but me, sir.
GREG
She was here last night. White,
about fifteen or sixteen.
55.
OLD BLACK MAN
Well, I sure would like company
like that but I ain't had no
company since my woman died over
a year ago now, sir.
GREG
I saw her right here!
DETECTIVE VILLANOVA
You're the owner of the house,
sir?
OLD BLACK MAN
I sure is.
GREG
I was here last night and--
DETECTIVE VILLANOVA
You made your point.
GREG
There's a conspiracy here,
there's--
DETECTIVE VILLANOVA
Why don't you two give me a
minute?
BROWNING
Come on, Greg.
Browning
escorts Greg off the porch, as Villanova continues
to talk
to the old man. They head for the curb.
GREG
Raymond can back me up, she was
here, we were chased off by her
boyfriend. Whoever he was. A
black kid, maybe nineteen, built
like a jock. He drew a knife on
us.
BROWNING
Okay, okay, let Villanova do his
job.
GREG
I don't believe this.
They
reach the car. Greg leans against a
fender. He
glances
around the neighborhood, finding more than one
curious
black resident looking back at him.
Villanova
returns.
56.
GREG
Didn't you arrest him?
DETECTIVE VILLANOVA
I'll want to talk to your
witness.
GREG
He's lying!
DETECTIVE VILLANOVA
You said you were chased off last
night?
GREG
Yes.
DETECTIVE VILLANOVA
I want to talk to the witness.
Bring him to the station.
GREG
Give me a break, man.
Villanova
crosses the street to his car. Greg
looks
disgusted
by the whole state of affairs.
EXT.
RAYMOND'S APARTMENT - SWIMMING POOL - DAY
Raymond
is in the pool, less interested in swimming than in
keeping
an eye on the several young women in bikinis who are
sunning
themselves.
Suddenly
Greg appears at poolside.
GREG
Get out and get dressed.
RAYMOND
Pardon me?
GREG
I need you to tell the police
what you saw.
RAYMOND
Greg, for God's sake, can't you--
GREG
Will you just get dressed,
please?
Raymond
swims toward the edge of the pool to get out.
57.
INT.
RAYMOND'S APARTMENT - KITCHEN - DAY
Raymond
is still in his suit, a towel draped around his
shoulders. He's making himself a drink.
GREG
You saw exactly what I saw.
RAYMOND
I can't swear it was the same
girl, Greg. Honestly, I just
can't. I don't remember seeing
her at the play.
GREG
I'm telling you, it was the same
girl, goddamn it.
RAYMOND
I can't go in there and lie under
oath.
GREG
Great. What a buddy, right? Jesus.
Greg
glares at him, then turns and bolts out of the room.
EXT.
COURTHOUSE - DAY
The
Portland courthouse is a large stone building downtown.
INT.
COURTROOM - DAY
The
courtroom is packed with observers for the pre-trial
hearing.
Christy
and Raymond observe from the audience.
Also in the
audience
are Trisha and her father, Mr. Morris.
Trisha
exchanges
a nod of recognition with John, who is sitting a
few
seats away.
The
baliff prepares for the entrance of the judge.
BALIFF
Everybody rise!
The
audience rises as the JUDGE enters.
INT.
COURTROOM - WITNESS STAND - DAY
Judi
Swanson is on the witness stand, being examined by the
PROSECUTOR. With bleached hair and too much makeup, Judi
looks
like a hooker.
58.
PROSECUTOR
On the day in question, you were
supposed to pick up your daughter
at school, is that right?
JUDI SWANSON
Yes.
PROSECUTOR
Did you have any special plans
for the evening?
JUDI SWANSON
Yes, my new boyfriend was coming
to dinner. I wanted him to meet
Heather.
PROSECUTOR
Did you go to school to pick up
Heather?
JUDI SWANSON
Yes. I was about a block and a
half from school when I saw her
get into another car.
PROSECUTOR
Then what happened?
JUDI SWANSON
Well, I didn't know what was
going on. I tried to follow them
but lost them at a stoplight.
PROSECUTOR
When did you next see your
daughter?
JUDI SWANSON
Not for two days.
PROSECUTOR
What did she tell you about her
whereabouts during that time?
INT.
COURTROOM - WITNESS STAND - DAY
Heather
is on the stand.
HEATHER
When he pulled over, I didn't
know who he was.
(MORE)
59.
HEATHER (CONT'D)
He smiled and said mother had
sent him to pick me up. I asked
if he was George - that's her new
boyfriend - and he smiled again
and said yes, so I got in.
PROSECUTOR
Then what happened.
HEATHER
As soon as we pulled off, he told
me he'd kill me unless I did
exactly what he said.
PROSECUTOR
Where did he take you?
HEATHER
To the coast. To this house on
the beach.
Heather
can't keep back the tears.
PROSECUTOR
I know this is difficult,
Heather,
but I have to ask you this: is
the man who picked you up in the
courtroom?
She
points at Greg.
HEATHER
There.
Greg
turns to say something to his attorney.
INT.
COURTROOM - WITNESS STAND - DAY
Browning
is cross-examing Heather.
BROWNING
Isn't it true that on the opening
night of the play at the high
school, you pretended to be his
step-daughter, ex-step-daughter,
from a previous marriage?
HEATHER
No.
BROWNING
That you, in fact, seduced him
and not the other way around?
60.
The
prosecutor rises to his feet to object.
PROSECUTOR
Objection! The girl is a minor,
and she's not the one under
investigation here.
JUDGE
Sustained.
Browning
and the prosecutor exchange glances.
On the
witness stand, Heather starts crying.
HEATHER
He raped me - over and over and
over again.
This
gets a considerable BUZZING reaction from the audience,
and the
judge bangs with his gavel for order.
JUDGE
Order, order!
INT.
COURTROOM - AUDIENCE AREA - DAY
In the
audience, Trisha is visibly upset by what she hears.
She gets
the attention of John, who nods at her as if in
agreement
with something.
EXT.
OUTSIDE COURTROOM - PARK BLOCKS - DAY
There's
a strip of grassy park across the street from the
courthouse,
which runs through much of the downtown area.
Trisha,
John and three of his buddies are watching as people
exit the
courthouse.
TRISHA
There they are.
Judi
Swanson and Heather come down the courthouse steps.
TRISHA
John, I'm really counting on you.
This is very, very important.
JOHN
I understand.
She
kisses him on the cheek.
John
nods to his buddies, and the foursome move off after
Judi and
Heather.
61.
EXT.
DOWNTOWN PORTLAND - SIDEWALK - DAY
Judi and
Heather are walking to their car.
John and
his buddies follow them. One of the
buddies
carries
a boombox, which is playing pop music, giving the
group
the appearance of some guys just out strolling on an
afternoon.
The
women reach the car, parked at a meter along the street.
Suddenly
John and his buddies race ahead to their car.
John
immediately goes to the driver's window, which is
rolled
up. Judi sits behind the wheel.
At the
same time, one of the buddies goes to a back tire and
starts
letting the air out.
Another
buddy continues racing down the street, to where
John's
minivan is parked some distance away.
During
all this, the third buddy turns up the volume of the
boombox. Loud rock music blasts across the scene.
John
leans down at the driver's window to talk to Judi.
JOHN
Excuse me, lady, I think you have
a problem.
He taps
on the window.
Judi is
startled by his sudden appearance. John
smiles.
JOHN
Excuse me, ma'am!
She
roles down her window.
JUDI SWANSON
What do you want?
JOHN
You have a flat. Can I change it
for you?
JUDI SWANSON
A flat?
JOHN
Right there.
He
points at the back tire.
62.
JUDI SWANSON
Shit.
Judi and
Heather both get out of the car. They
walk back
and
stare at the flat tire.
JOHN
It won't take a minute. I need
to get the spare.
JUDI SWANSON
Right.
She
reaches in and gets the keys, handing them to John. He
goes and
opens up the trunk.
JOHN
Be done in ten, fifteen minutes.
JUDI SWANSON
I can't pay you.
JOHN
That's all right.
JUDI SWANSON
You want a coke or something?
JOHN
That'd be great. There's a deli
around the corner.
JUDI SWANSON
You got it.
She
starts off.
HEATHER
I'll come, too.
They
move a short distance from the car.
JUDI SWANSON
You'd better stay here, he has
the keys to the car.
HEATHER
Okay.
Judi
continues to the deli alone.
Heather
waits near the car, as John brings out the spare and
the
jack.
63.
John's
buddy has the wrench and starts taking off the flat
tire. The other buddy watches, still playing loud
music on
the
boombox.
Suddenly
the minivan careens around the corner, with the
other
buddy behind the wheel. Then the
minivan slows down,
moviing
cautiously toward Judi's car.
John
sees the van coming. He bends down at
the tire, where
the
buddy is removing the wheel, and speaks under his breath.
JOHN
Here he comes.
John
stands up and moves to Heather. The
buddy with the
boombox
goes into the street and gestures to the minivan.
John
moves next to Heather. He puts a stiff
finger in her
back.
JOHN
What you feel is a pistol, okay?
You're going to be very quiet and
get in the van.
HEATHER
The fuck I am.
She
suddenly turns and knees John in the groin.
He bends
over in
pain.
Heather
immediately starts screaming and yelling.
HEATHER
Police, police!
John
doesn't know what the hell to do now.
The buddy with
the
boombox makes a move to go, turning back to yell over
the
music.
BUDDY
Let's get the hell out of here!
As
Heather still screams for the police, the two other
buddies
jump into the minivan.
John
runs up and is the last to get in. The
minivan peels
out, as
various pedestrians gather around Heather.
One of
the pedestrians writes down the license plate number
of the
fleeing van.
64.
Judi
comes around the corner. Seeing the
scene, she
immediately
realizes something is wrong and starts running
to her
daughter, dropping the beverages to the sidewalk,
cussing
under her breath.
EXT.
PORTLAND POLICE STATION - DAY
A few
patrol cars are parked outside.
INT.
POLICE STATION - RECEPTION AREA - DAY
John and
his buddies have been arrested and are being
released
to their parents.
Trisha
is also there, being released to her father, who is
non-too-pleased
at this state of affairs. He signs a
paper
and
grabs her arm.
TRISHA
Ow!
MR. MORRIS
Don't you "ow" me,
young lady.
He drags
her out.
INT.
CHRISTY'S APARTMENT - LIVING ROOM - NIGHT
Greg is
on the divan, sipping a beer, as Christy paces back
and
forth. Both look very upset, making it
clear that they
have
been fighting.
CHRISTY
I don't know what to say, Greg.
If you lied to me once, you can
lie to me again.
GREG
It wasn't exactly a lie.
CHRISTY
You told me you've never been
married. Not that I give a good
goddamn. It's just the fact that
you lied to me. Now it turns out
you have a step-daughter.
GREG
I never adopted her.
CHRISTY
You lied to me, Greg. It's the
principle I'm talking about.
65.
The
doorbell rings.
CHRISTY
Christ.
She goes
to the door. It is Mr. Morris.
MR. MORRIS
I'm sorry to bother you. I'm
looking for Gregory.
CHRISTY
Come in.
Morris
comes into the living room, and Greg stands up to
greet
him.
GREG
Mr. Morris.
MR. MORRIS
Trisha was arrested today.
GREG
My God. What for?
MR. MORRIS
Trying to save you.
GREG
I don't understand.
MR. MORRIS
This is not easy for me to say,
especially in front of a lady.
CHRISTY
I'll leave you two alone.
She
moves out of the room.
GREG
I think I know what you're going
to say, Mr. Morris. Trisha has a
crush on me.
MR. MORRIS
I pray that's all it is.
GREG
Of course, that's all it is. How
on earth did she think she was
going to save me?
66.
MR. MORRIS
By kidnapping that girl. Trisha
is sure she's lying about you.
GREG
Then bless her, because she's
right.
MR. MORRIS
I don't know what to think. I
only know I don't want my
daughter
getting arrested because of you.
GREG
I'll talk to her.
MR. MORRIS
No, I don't want you to go near
her again. That's why I'm here.
I want you to promise me that
you'll leave her alone.
GREG
It's not unusual for a student to
have a crush on a teacher, sir.
I can't believe she tried
something so stupid. I think it
would be helpful if I spoke to
her myself.
MR. MORRIS
Just keep out of her life.
That's all I came here to say.
He turns
and starts toward the door.
GREG
She's a talented actress, Mr.
Morris. Don't force her to
become something she doesn't want
to be. She has no interest in
advertising and public relations.
She wants a career on the stage,
and she's good enough to have
one.
Morris
walks out without responding to this.
Greg takes a
deep
breath.
INT.
CHRISTY'S HOUSE - BEDROOM - NIGHT
Greg and
Christy are asleep when the bedside phone begins to
ring.
67.
Greg
turns, wakes, and glances at the digital clock. It is
only
three in the morning.
Christy
stirs.
CHRISTY
What time is it?
GREG
Three.
He
answers the phone.
GREG
Hello?
CONNIE (FILTERED)
Meet me at the all-night Denny's
in thirty minutes.
GREG
Connie?
CONNIE (FILTERED)
I won't wait for you if you're
late.
She
clicks off.
CHRISTY
Who was it?
GREG
I think it's blackmail time.
He gets
up out of bed to dress.
EXT.
DENNY'S RESTAURANT - PARKING LOT - NIGHT
Greg's
VW van pulls into the lot. He gets out
and enters
the
restaurant.
INT.
RESTAURANT - NIGHT
Greg
finds Connie sitting alone in a back booth.
He heads
for it.
INT.
RESTAURANT - BACK BOOTH - NIGHT
Greg
slides in across the table from Connie.
She immediately
slides a
sheet of paper across the table to him.
CONNIE
Read this.
68.
Greg
picks up the paper and begins to read.
INSERT:
THE SHEET OF PAPER
The
typed message reads:
"The
price of your innocence is one hundred thousand dollars
in cash.
You will
bring it here at 4pm tomorrow. You will
come alone.
Don't
try anything because charges won't be dropped until
the
money is secured."
INT.
RESTUARANT - BOOTH - NIGHT
Greg
looks up after reading this.
GREG
So that's it.
CONNIE
That's it.
GREG
I could show this to the police.
CONNIE
Who would believe a child
molester?
GREG
I didn't touch that girl.
CONNIE
I was referring to California.
You left me for one of your
students, remember? You were
convicted.
GREG
I was not convicted.
CONNIE
You settled out of court, same
difference. I'm sure the judge
here would love to know about
that.
Smiling
at him, she takes back the sheet of paper and tears
it up
into pieces, putting them into an ashtray.
She
lights a match and burns the demand letter.
CONNIE
Tomorrow at four.
69.
She gets
up and goes.
Greg
stares at the ashtray. He reaches into
an inside coat
pocket
and takes out a portable tape recorder.
He rewinds
the tape
a bit and turns it on.
The
quality isn't good but he's recorded the blackmail
attempt. He listens to the tape as the note still
burns in
the
ashtray.
GREG
"So that's it."
CONNIE
"That's it."
GREG
"I could show this to the
police."
CONNIE
"Who would believe a child
molester?"
EXT.
POLICE STATION - ENTRANCE - DAY
Villanova
climbs the steps to enter the building.
INT.
POLICE STATION - RECEPTION AREA - DAY
Greg is
half-asleep on a bench. He looks like
he's been
there
for hours.
Villanova
comes into the building, and the POLICEMAN at the
front
desk gets his attention.
POLICEMAN
Guy there's been waiting for you
since around five this morning.
Villanova
goes to the bench and looks down at Greg, who
stirs a
bit. He kicks Greg's foot and Greg
starts, looking
up,
squinting.
DETECTIVE VILLANOVA
What's up?
INT.
POLICE STATION - VILLANOVA'S OFFICE - DAY
Greg
sits in a chair across the desk as Villanova listens to
the
tape. When it's done, the detective
shuts off the
machine.
GREG
That's all I got.
70.
DETECTIVE VILLANOVA
I didn't hear anything about
money.
GREG
She was clever, all the details
were written down.
DETECTIVE VILLANOVA
Which was burned.
GREG
Goddamn it, I'm innocent! I'm
being blackmailed here!
DETECTIVE VILLANOVA
This alone won't do it in court.
GREG
Have someone observe the exchange
of money.
DETECTIVE VILLANOVA
You can raise money like that?
GREG
Yes.
Villanova
raises his eyebrows, regarding him with renewed
interest,
waiting as if wanting to hear more.
GREG
Look, it's a long story. My
girlfriend has money.
DETECTIVE VILLANOVA
Good for you.
GREG
Are you going to help me or not?
DETECTIVE VILLANOVA
Why don't you go home and get
some sleep? I'll call you around
two.
GREG
I'm innocent.
DETECTIVE VILLANOVA
I'll be in touch.
71.
INT. CHRISTY'S
HOUSE - KITCHEN - DAY
Christy
is in her robe at the breakfast bar.
Greg pours
himself
a cup of coffee.
CHRISTY
That's a lot of money.
GREG
The thing is, it won't be lost.
The police will confiscate it as
soon as she's arrested.
CHRISTY
I don't think I can come up with
that much cash on such short
notice.
GREG
Don't let me down, babe.
CHRISTY
Why do I feel like I'm the one
who was let down?
GREG
Are you still angry about that?
Goddamn it, the marriage stunk!
I didn't tell you about it
because I didn't want to talk
about it. It was a mistake. As
far as I'm concerned, it never
happened.
CHRISTY
I'm sorry, I just can't do it,
Greg. Somehow everything feels
different about us.
GREG
Nothing is different, goddamn it!
CHRISTY
Isn't it?
He slams
down his coffee cup and storms out of the kitchen.
INT.
RAYMOND'S APARTMENT - LIVING ROOM - DAY
Raymond
sits on the divan as Greg paces angrily.
RAYMOND
That's a hell of a lot of money.
72.
GREG
Tell me about it.
RAYMOND
What are you going to do?
GREG
I don't know. I can't believe
Christy won't help me.
RAYMOND
It is short notice.
GREG
I'm sure I could get Connie to
wait a couple days.
RAYMOND
Then why won't she help? She'd
get the money back.
GREG
That's what I told her. She's
pissed because I was married and
didn't tell her.
RAYMOND
That's all it is?
GREG
All I can figure. She keeps
saying I lied to her.
RAYMOND
Did you tell the police what's
coming down?
GREG
Of course I told the police.
They didn't seem all that
interested. Well, anyway, if you
get any bright ideas . . .
RAYMOND
All you should have to do is
prove she's trying to blackmail
you.
GREG
Villanova said the tape wouldn't
hold up it court. It doesn't
really say anything about money
or something. I'm out of here.
73.
He heads
for the door.
RAYMOND
Hang in, Greg. I have a feeling
justice will win out.
GREG
I don't.
He turns
and goes.
INT.
CHRISTY'S HOUSE - KITCHEN - DAY
Greg
finishes a beer and looks at his watch.
He goes
to the phone. He dials and waits.
POLICEMAN (FILTERED)
Central precinct.
GREG
Detective Villanova, please.
POLICEMAN (FILTERED)
He's not in at the moment.
GREG
He has to be in. He
was supposed
to call me at two.
POLICEMAN (FILTERED)
I'm sorry, Detective Villanova is
not in. Can I help you?
GREG
Then where the hell is he?
POLICEMAN (FILTERED)
I don't have that information.
Can I be of help to you, sir?
Greg
slams down the receiver.
EXT.
STREET OUTSIDE DENNY'S RESTAURANT - DAY
Greg's
VW van is parked on the street across from the
restaurant.
INT. VAN
- DAY
Greg is
watching the entrance to the restaurant carefully.
He looks
at his watch.
74.
EXT. THE
STREET - DAY
Christy's
BMW approaches and turns into the restaurant
parking
lot.
Christy
is driving and Connie sits in the passenger seat.
INT. VAN
- DAY
Greg
can't believe what he is seeing, his girlfriend and ex-
wife
together.
EXT.
RESTAURANT - PARKING LOT - DAY
The
women have parked and get out together.
They go into
the
restaurant.
EXT.
STREET - VAN - DAY
Greg
quickly gets out and crosses the street against the
traffic,
causing a few cars to honk at him. He
enters the
restaurant.
INT.
RESTAURANT - ENTRYWAY - DAY
Greg
comes in, looking around.
He finds
the women seated in a booth, sitting together on
the same
side. He approaches them.
INT.
RESTAURANT - BOOTH - DAY
Greg
slides into the booth across from the women.
GREG
What the fuck is going on, man?
CHRISTY
She called the house. I cut you
a different deal.
GREG
Are you serious?
CONNIE
You lost yourself a good woman,
Greg. I'd say not for the first
time but it would sound like I'm
bragging.
CHRISTY
I cut a new deal for all of us.
75.
GREG
So what's this new deal?
CONNIE
She gave me fifty thousand.
GREG
And you'll pull off the woman and
girl?
CONNIE
I've already given them their
cut.
I imagine they're out of Portland
by now.
Greg
reaches over the table to take Christy's hand but she
pulls it
away.
CHRISTY
I have conditions, too. I want
you out of my house. Today,
tomorrow at the latest.
GREG
What?
CHRISTY
She told me about what really
happened in California.
GREG
Her side. Christy, for Christ's
sake, she's a pathological liar,
a blackmailer, she's a goddamn--
CHRISTY
I mean it. I did something for
you, now it's your turn to do
something for me. Get out of my
house.
Greg
studies her and understands that she's serious.
GREG
Okay. But we'll talk about this
later.
CHRISTY
No, we won't.
GREG
We'll see, okay? We'll let it
ride awhile.
76.
He gets
up out of the booth.
GREG
Connie, you're a goddamn liar.
CONNIE
If I was, it wouldn't be half of
what you are.
GREG
I'll call you in a few days,
babe.
Christy
stares at him coldly.
CHRISTY
I've always hated it when you say
that. I am no "babe."
GREG
I can't believe you're taking her
word over mine.
CHRISTY
Get used to it.
Greg
turns and leaves.
The
women give one another a knowing look.
INT.
CHRISTY'S HOUSE - LIVING ROOM - NIGHT
Greg
comes in, staggering, a little drunk.
He
passes by the answering machine in the room and sees that
the red
light is blinking. He bends down and
pushes a
button
to hear the message.
Trisha's
voice comes over the answering machine.
TRISHA
"Greg, my parents are out of
town
for a few days. I rented a room
at the Shangra-la Motel. Room
Twenty-Four. I hope
you'll come
by tonight. I just need to talk
to you, where nobody will see us.
Please remember that I'm the one
who believes in you. I thought
if I could talk to that girl
myself, maybe I could get her to
tell the truth. I guess it was a
pretty dumb thing to try, right?
(MORE)
77.
TRISHA (CONT'D)
I only did it because I believe
in you. I'll always believe in
you. If you can't come, please
give me a call. I've never lost
faith in you, Greg. In your heart
you know that."
Greg
turns off the machine. He thinks a
minute, then heads
out of
the house.
EXT.
NORTH PORTLAND - MAIN DRAG - NIGHT
Greg
drives along the main drag.
As
before, PROSTITUTES linger at almost every street corner,
often
making clear and even obscene gestures to passing
motorists.
INT. VAN
- NIGHT
Greg
searches for the Shangra-la Motel. He
looks
apprehensive.
EXT.
STREET - NIGHT
Finally
Greg's VW van approaches the gaudy neon lights of
the
Shangra-la Motel.
He pulls
into the parking lot.
EXT.
MOTEL - PARKING LOT - NIGHT
Greg
swerves into a space and parks. He gets
out.
In a
nearby parked car, loud music blares out over the radio
as
several black men openly pass around a pint bottle.
Greg
moves off, looking for room twenty-four, discovering
that it
is upstairs. He heads for the stairs.
EXT.
STAIRWAY - NIGHT
Greg
climbs the stairs.
More
loud music is coming from one of the rooms up above.
Greg
reaches the upper balcony and moves along the railing.
He
passes a series of doors - room 21, room 22, room 23 and
finally
room 24.
78.
EXT.
UPPER BALCONY - NIGHT
He
knocks, and in a moment Trisha's voice comes through the
door.
TRISHA (O.C.)
Who is it?
GREG
It's me.
INT.
MOTEL ROOM - NIGHT
Trisha
opens the door. She's wearing jeans and
a cotton
sweatshirt.
Greg
hurries in, closing and locking the door behind him.
GREG
Have you lost your mind, renting
a room in a neighborhood like
this? Do you know how dangerous
it is out there?
TRISHA
I wanted to be sure no one would
know us.
GREG
You're lucky you weren't raped.
Trisha
moves toward the bed, sulking. She sits
down on it.
TRISHA
I was hoping you'd be glad to see
me.
GREG
I'm just trying to tell you that
you did a very foolish thing
coming here.
TRISHA
Would you have rather come over
to my house?
GREG
No.
Greg
looks around the room. It's an old
fifties motel that
has not
been kept up and now it's definitely on the sleezy
side.
79.
He
notices a bottle of gin and an ice bucket on the desk
table.
GREG
You've been drinking?
TRISHA
No, I haven't been drinking. I
thought you might like a martini
or something.
GREG
Sure, then.
Greg
takes a stuffed chair in the room as Trisha moves to
mix a
drink.
GREG
You're really something, aren't
you? Trying to kidnap that girl.
Jesus, Trish. And I know you're
the only girl at Wilson with the
balls to rent a motel in North
Portland. Definitely one of a
kind.
TRISHA
I just wanted to be discrete.
GREG
What did the desk clerk say? He
must have thought you were a
hooker.
She brings
Greg his martini on the rocks, mixed in a plastic
cup.
TRISHA
He said, that will be thirty-two
dollars, please.
GREG
They get that much for this dive?
Highway robbery.
Greg
accepts the drink and sips.
Trisha
stays close to him.
GREG
You do make a good martini.
TRISHA
I didn't think you'd remember.
80.
GREG
Of course, I remember.
TRISHA
It's not the only thing you used
to like about me.
GREG
You're really something, aren't
you?
TRISHA
I don't know, am I?
GREG
You are, indeed.
TRISHA
Then why don't I feel like I am?
Greg
studies her. He puts down the plastic
cup and stands up.
Suddenly
they embrace and kiss with increasing passion.
The
moment should be shocking, with the realization that
clearly
they have been lovers before.
They
continue to embrace with reawakened passion.
Greg
starts
to move her to the bed, pulling off her cotton
sweatshirt.
On the
bed, he unfastens her jeans and pulls them off,
leaving
Trisha in her bikini underwear. Then he
starts
undressing
himself.
GREG
I've missed you, babe.
TRISHA
Please don't say anything.
GREG
You're the only one who believes
in me. I was an idiot not to see
that.
Greg is
nude, Trisha in her underwear, and he moves on top
of her
on the bed. They embrace and kiss.
Suddenly
the motel door BURSTS open.
Coming
in first is Detective Villanova, followed by two
other
POLICEMEN.
81.
Coming
in behind them are Connie and Christy.
DETECTIVE VILLANOVA
That's far enough, Greg.
Greg
gets up off the bed, grabbing for his pants and trying
to step
into them, caught dead in his tracks but still
trying
to come up with a bluff.
Trisha
also moves quickly off the bed, hurrying to the
supportive
embraces of Christy and Connie.
A
policeman starts reading Greg his rights.
GREG
This isn't what you think, man.
This is . . .
DETECTIVE VILLANOVA
What, asshole? What the fuck is
it then?
INT.
POLICE STATION - CONFERENCE ROOM - NIGHT
Trisha
is reading the typed copy of her official complaint.
Sitting
on each side of her are Christy and Connie.
Villanova
sits across from the women at the large table.
Trisha
signs the complaint, giving it to him.
DETECTIVE VILLANOVA
That ought to do it.
CHRISTY
Are we free to go then?
DETECTIVE VILLANOVA
Yes, ma'am.
He
touches Trisha's arm.
DETECTIVE VILLANOVA
How are you doing?
TRISHA
Okay. Can I see him?
CHRISTY
You don't want to see him.
TRISHA
I have to tell him something.
82.
CONNIE
Then we'll come with you.
DETECTIVE VILLANOVA
All three of you isn't exactly
protocol.
TRISHA
I have to tell him how I feel.
It's important that he hear it
from me.
DETECTIVE VILLANOVA
Well, I can't let you all in the
cell together.
TRISHA
I don't want to be in the cell.
I just need to tell him
something.
DETECTIVE VILLANOVA
Five minutes, how's that?
TRISHA
I don't need five minutes.
Villanova
gets up and goes to the door to beckon a policeman
to
escort her.
DETECTIVE VILLANOVA
I'll get you an escort.
CHRISTY
Are you sure you want to do this?
TRISHA
Yes.
OFFICER
JAMES moves into the doorway to the room.
DETECTIVE VILLANOVA
Officer James will take you to
see him.
Trisha
gets up.
TRISHA
Thank you.
She
leaves with the officer.
DETECTIVE VILLANOVA
She comes from tough stock.
83.
CHRISTY
Yes, she does.
DETECTIVE VILLANOVA
You two can go.
CHRISTY
We'll wait for her.
CONNIE
Will I have to testify?
DETECTIVE VILLANOVA
Too early to say. If he gets a
good attorney, they may try to
prove entrapment.
CHRISTY
He was having an affair with that
girl for months!
DETECTIVE VILLANOVA
I know, I know. And she's the
best witness we have. But the
way all of you got together on
this, a good lawyer will yell
entrapment.
CHRISTY
When the girl came to me, what
was I supposed to do? The poor
child thought she was in love
with him. She saw me as a rival.
DETECTIVE VILLANOVA
One question. Whose idea was all
this anyway?
CHRISTY
She wanted revenge. She wanted
revenge the way Medea got
revenge.
INT.
HALLWAY - CELL AREA - NIGHT
Trisha
and Officer James approach Greg's cell.
INT.
CELL - NIGHT
Greg
hears footsteps and goes to the bars to see who it is.
Trisha
moves close to the bars to speak to him.
GREG
Hello, Trish.
84.
Trisha
gives the speech below with great concentration,
clearly
close to losing it, to breaking down, but determined
to say
what she has to say.
She
gives her speech as Medea in the play.
TRISHA
"No, it was not to be for
you to
scorn my love and live happily
ever after, laughing at me."
This is
enough. With tears in her eyes, Trisha
turns and
moves
away. Greg calls after her.
GREG
Trish, you know it wasn't like
that. We have to talk about this.
Don't believe everything you
hear, Trish! I love you, you
know I love you! I wanted to
marry you! Trisha!
INT.
HALLWAY - CELL AREA - NIGHT
Trisha
makes the long walk to get out of there, passing
barred
cells on each side of her. She is still
holding up
admirably.
INT.
WAITING AREA - NIGHT
Trisha
comes through a door to leave the cell area, into a
waiting
area where Christy and Connie meet her.
The
older women rush to comfort her. At
last Trisha breaks
down
into tears.
CHRISTY
It's okay, the worst is over now.
CONNIE
He can't hurt you again.
TRISHA
I loved him . . . I love him so
much . . .
CHRISTY
The worst is over now . . .
The
women move to leave the building, arms around one
another,
Trisha protectively in the middle.
They
slowly move away and into a new future without Greg.
FADE OUT.